我的灵感来自像波德莱尔和雅克·普莱维尔这样的诗人。
My inspiration comes from poets like Baudelaire and Jacques Prévert.
波德莱尔认为摄影是“艺术和科学的一个非常卑微的仆人”；是一种很大程度上无法超越“外部现实”的媒介。
Baudelaire regarded photography as "a very humble servant of art and science"; a medium largely unable to transcend "external reality".
但从19世纪某个时间点开始，更多的艺术家开始认为幸福毫无意义，是虚假的，最糟糕的是有人认为它很无趣，就像我们从华兹华斯的《咏水仙》到波德莱尔的《恶之花》中读到的一样。
But somewhere from the 19th century onward, more artists began seeing happiness as meaningless, phony or, worst of all, boring, as we went from Wordsworth's Daffodils to Baudelaire's Flowers of Evil.
安做有关波德莱尔的博士论文。
对现代生活的关注贯穿了波德莱尔的一生。
All his life Charles Pierre Baudelaire showed great concern with modern life.
查尔斯·波德莱尔曾说，我们一次一笑小步地堕入地狱。
As Charles Baudelaire once said, we descend into hell by tiny steps.
作者引用诗人华兹华斯和波德莱尔的例子是想说明。
By citing the examples of poets Wordsworth and Baudelaire, the author intends to show that.
我们从华兹华斯的黄水仙花走到了波德莱尔的恶之花。
We went from Wordsworth's daffodils to Baudelaire's flowers of evil.
波德莱尔处于浪漫主义退潮期，必须开拓新的诗歌领域。
Baudelaire lived in a period of time when romanticism was on the ebb and new fields of poetry were cried for.
“应和论”不是波德莱尔的发明，它具有长久的历史渊源。
Theory of Correspondences, which is not an invention of Baudelaire, has a long history.
自波德莱尔以来，“新奇”成为审美现代性的核心范畴之一。
Since Baudelaire, " novelty" has become one of core categories of Aesthetic modernity.
没有什么能除了一点一点做，法国诗人波德莱尔·查尔斯曾经说过。
Nothing can be done except little by little, the French poet Baudelaire Charles once said.
本文从这三个方面进入波德莱尔的审美现代性思想与创作实践的研究。
This article from the three aspects of Baudelaire's aesthetic into the modern practice of creative thinking and research.
你认为你的人物是“独特的可怕夜游者”，这会和波德莱尔诗歌里有的人物相似吗？
Would you consider your figures as' peculiar, terrible somnambulists', similar to the ones present in Baudelaire's poem?
单独分析，给出了重要的印象派展览和像波德莱尔及其当代作家的批评。
Separate analysis is given to the important Impressionist exhibitions and their contemporary critics like the writer Baudelaire.
波德莱尔以来，拒绝者开创了文艺领域中的“波希米亚人”的流浪传统。
Ever since Charles Baudelaire, abnegators have initiated a Bohemian-mannered vagrom tradition in the literary realm.
一般来说，人们一提到波德莱尔的应和论，总是把它与象征或通感等同起来。
In general, when speaking of Baudelaires correspondences, people always regard it as symbol or synesthesia.
我发现她非常喜欢法国文学，事实上，她能非常容易漫不经心地谈论萨特、加缪和波德莱尔。
I found out she had a penchant for French literature, and, in fact, could toss around the works of Sartre and Camus and Baudelaire with astonishing ease.
波德莱尔美学思想中关于艺术与道德的关系、应和、现代性的思想非常富有深意和新意。
Aesthetics thought of Baudelaire about the relationship between art and morality, correspondences and modernity is new and profound.
波德莱尔式的陌生化十分接近笔者与曾梵志艺术中任何数量的惑人的特色相遇时的情形。
Baudelairean strangeness approximates the effect of my own encounter with any number of disorienting features of Zeng's art.
他的思想综合了康德和叔本华、德拉克洛瓦、雨果、罗丹、波德莱尔、达尔文的复杂影响。
His ideology of painting synthesized complex influence of Kant, Schopenhauer, Delacroix, Hugo, Rodin, Baudelaire, and affected by the impact of Darwin's theory of evolution.
因此，西方现代派文学的真正源头，应是法国诗人波德莱尔发表《恶之花》的1957年。
Therefore, the source of the real modernistic literature ought to be 1957 when Charles Baudelair had his les Fleus du mal published.
正如波德莱尔和奥斯卡·怀尔德所知，无论是艺术还是艺术家对这个自由社会起因都不付有道德上的责任。
As Baudelaire and Oscar Wilde knew, neither art nor the artist has a moral responsibility to liberal social causes.
这叫我想起波德莱尔曾经说过的现代性就是过渡、短暂、偶然，这是艺术的一半，另一半是永恒和不变。
It made me remember Baudelaire's words that modernity is transition, short, incident; this is an half of art. Another is forever and fixedness.
所有美丽和高贵的事物都是理性和思考的成果- - -查尔斯·波德莱尔，法国诗人，评论家和翻译家。
Everything that is beautiful and noble is the product of reason and calculation — Charles Baudelaire, French poet, critic, and translator.
你雕刻的人物双目紧闭和波德莱尔（Baudelaire）的盲人很类似（特别是叫做S.G.F.Y.A的雕塑）。
The quasi-dead eyes of your sculpted figures make them similar to Baudelaire’s blind men (particularly the sculpture titled S.G.F.Y.A).
与此同时，波德莱尔提出了对抗平庸现实的策略——“以恶为美”，以“震惊”的审美效应来达到对现实的抗争。
Meanwhile, he raised a strategy to oppose the commonplace reality-taking evilness for beauty, fighting against the reality by means of the aesthetic effect of "shock".
波德莱尔的美学观形成了一个极具现代性的、独特的体系，对现代美学及艺术产生了深远的影响，具有极为复杂的特性。
Baudelaire's complicated aesthetic thought was an extremely modern and unique system, and had a far-reaching influence on the modern aesthetics and art.
但是由于现代性本身是一个充满悖论的自反性概念，兼之波德莱尔囿于时代的局限，其理论上的缺陷和不足也是难以避免的。
However, because modernity itself is a paradox of the concept of reflexivity and Baudelaire confined to the limitations of The Times, the inadequacy of his theory was difficult to avoid.
但是由于现代性本身是一个充满悖论的自反性概念，兼之波德莱尔囿于时代的局限，其理论上的缺陷和不足也是难以避免的。
However, because modernity itself is a paradox of the concept of reflexivity and Baudelaire confined to the limitations of The Times, the inadequacy of his theory was difficult to avoid.
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